fluidity of Aqueous we capture the expressions of harmony of
humanity with nature unto itself. Luminous underwater visions and
organic forms become fused into a type of sensual celebration.
Fernando Urena Rib's work over the years have become more and more
captivating as he integrates and balances pigments and hues,
combining movements with the seamless blending of multiple forms.
is in his own way, a feminist. Not in the contemporary social sense
but in the earthy sense of one absorbed by feminine life forces. The
forms and figures are feminine forms that arrest the viewer. There
might be nude women floating gracefully about his canvases but there
is absence of eroticism. The progressive attitude in art calls for
transcendence of the obvious. Fernando's work's, be them graced with
human organic forms are wonderful expressions of sensual delight
that transcend blatant eroticism and expend into harmonic euphoria.
over twenty years art collectors from major European and American
cities highly appreciate and acquire Fernando Ureña Rib's works,
which is an attestation of the quality and maestria of his art work.
Every painting is in relation with life and as we all know, all life
stems from water. Fernando's Aqueous series of oil paiontings is a
magic depiction of the fluidity of existence and of the organic
expressions of life.
we sense the throb of the "Tropic" (Title of another one of his
shows) and it climatic effects on both man and nature.
poetic texts that introduce his catalogues- poetry is the "Violin de Ingres" of the artist-,
among the emotive phrases of anecdotes we find the hidden key to
diverse combinations, organized and harmonious, always more
committed to imaginary transmutations. In Tropic (April 1996) Ureña
Rib says: "One begins to see the mirage, those reverberations of
heat which now melt the images and convert them into a volatile,
evanescent chromatic shape."
later (Celajes, November
1996) "The river multiplied and divided the last colors of the
afternoon and was converted into an enormous kaleidoscope of liquid
and phosphorescent metals." While George Arzeno Brugal justly
observed, more directly: " Simultaneously, many of his paintings
take up once more the ancient theme of reflecting movement and the
displacements of bodies in space."
the exquisiteness of color -inseparable from the quality of life and
form-the synthesis of resonance's, contrasts, tonal subtleties, all
converged powerfully into substantial optic repercussions. Jeanette
Miller once wrote defensively that "The handling of color and of
pictorial material prove secondary to his graphic abilities" (Historia de la
Pintura Dominicana, 1979) . Yesterday the lifeline of Fernando Ureña
Rib pictorial work was...the line; Today, the richness and delicacy
of the palette determine in great measure the melodic line of his
paintings. It is possible that the artist consciously or
unconsciously could have said to himself: "They have repeated so
often than I am a great draftsman-I am going to show them now I am
also a great colorist." Further, the initial compositions in the
series, dating from 1996, denote an unusual search, tending to "mute"
the leaves and stems suggested by manufactured or other manmade
objects. They insisted not only on tonal gradations but also on the
unctuosity of the paste and on a three dimensionality achieved
through chromatic emphasis.
found then those two elements that are required for the domination
of color: The intrinsic beauty of each shade and the harmony, which
results from the combination of various colors, enriched by the
subtle range of tones.
common denominator was present in all of the canvases. Some of them
in particular intensified the luminous elements, that it was
converted into a fascinating resplendence. Although a luminous
energy reigned supreme in this show, no fewer notables was the
renewed research of form. This aspect of Fernando Ureña Rib's work
can be classified as Abstract or neo abstraction, the morphological
representative of the known and identifiable World yields to
imaginary structures, and the accentuated study of form, color and
of all kind (from carnal and floral to fruits and the mechanistic)
inhabit the atmosphere, this Being either substantial or totally
airy. On the bases of this magical iconography, we maintain our
initial denomination that this is essentially fantastic and
Today "surrealism" is not
equated with a disorganization of the conscious world, but rather
with its profound reorganization according to the internal dictates
of the Self and the free functioning of the inspiration. It is this
reorganization, with its own laws of poetry and harmony that we
perceive in the Underworld, Oceans and Apologies of Internal Song.
("Submundos", "Océanos" y "Apologías del Canto Interior")
years later the roads have been covered, they have been widen and
converted into a broad path well trod by work, in searching with
success creative new routes. The works of Fernando Ureña Rib
characterized by unity and metamorphoses, has the future spread out
President of Attache Data-Link
Fernando Ureña Rib looks very comfortable with his canvases, it
is because he has been painting since a very early Age. Born in
La Romana, Dominican Republic in 1951, This International artist
began his Art training at 12, graduating with a degree of
Professor of Art from the National School of Fine Arts in Santo
Domingo in 1968, followed by Art Studies in Europe and the U.S.
Ureña Rib has seen his work exhibited
around the World. He holds a prominent position on the Art scene
in his own country since 1968. He is drawn to Montreal annually,
where he rents a studio in the Belgo Building of the downtown
area. There he immerses himself enthusiastically in the creative
and diverse atmosphere of Montreal producing here his works.
The result of his latest prolific
output is a series of paintings titled Carnavalia now on display
at the Dominican Republic Tourist Board offices on Crescent
Street. Ureña Rib creative flow is broken into two distinct
currents, each powerful in its pull, but marked by different
Many years ago he drove the attention
of Art critics with his sensual, organic, Abstract Paintings of
unique and beautiful sensibility, blossoming against the
backdrop of contemporary art galleries in a powerful explosion
of color and form. However, Ureña Rib is primarily a lover of
the human body, the female in particular, and the nude is
recurring theme in his production. It is also the focus of his
latest series, as the artist continues to explore the many
facets of human anatomy.
¨I have been attracted to the female
form since I can remember ¨ he said. " It is not just the female
body. It is the interest in and the discovery of the
possibilities of movement of the human body>"
In his canvas, nude female figures
overlap in a continuous dance, the image fragmented by the
folding of space and time, lines upon lines, a tangle of limbs
and faces, a vibrating, shimmering mosaic of color planes.
Basing his pictorial exploration on the Greek philosopher
Heraclitus's assertion that all things are happening at the same
time , he attempts to re create his seemingly impossible vision
The result is series of rhythmic
figures, beautiful nude bodies of idealized women, serene beings
of mythical rather than human proportions.
Nymphs inspire these stylized females,
a symbol of the Forces of nature and the Feminine power.
"I want these paintings to symbolize
the power of woman. Not just political power, but all the power
they possess." said Ureña Rib. Not just political power, but all
the power she possess. As in Tantric Buddhism, he is seeking the
elusive mix between spirituality and sensuality. The
idealization of the form - all figures in Ureña Rib are of
perfect proportion- is aimed as pleasing the eye, and the models
chosen for the portraits are invariably young and lithe.
Taking advantage of the proximity of
several contemporary Dance studios housed in the Belgo building
where he paints, Ureña Rib often uses dancers to pose for him,
their muscular bodies perfectly suited to carry his visual
Adorned with colourful and fantastic
headdresses, these women participate in a magical carnival. They
appear in a variety of compositions: in groups of three or more,
at times resembling the same figure in a kaleidoscope of
movement, at other a gay crowd partaking of a sacred ceremony.
Renouncing contemporary Art's
preoccupation with intellectual Angst- which he sees as the
residue of post World War nerves- Ureña Rib aims to create
beautiful, pleasing images. An excellent colorist, he constructs
a rich surface, a pattern of overlapping colors in perfect
visual harmony. "I do not thing there should be a divorce
between Art an Beauty," he asserts. " In this century, the
concept of beauty is seen as poisonous, but I think we are
arriving at a point where that is going to be changed, soon.